Thanks to my much improved recording setup, this time there is no transcription. This time you get to hear the man himself, and listen in as I touch base and hopefully convince a couple of you to check out the fantastic re-release of the awesomeness that is Wynorski’s take on the comic that he loves.

Actors Daniel Emery Taylor and RonReaco Lee on set for the movie “The Return of Swamp Thing” in 1989. (Photo by Michael Ochs Archives/Getty Images)

The ever candid Jim always has surprises for me when we talk. Sadly some of the cool news he tells me I can’t share – it’s a for-my-ears-only kinda deal – but fear not, he does deliver many a splendid anecdote.

Long before Marvel and DC dominated the popular consciousness, Jim Wynorski was directing a DC movie. Before we see the proposed, rehashed series spearheaded by Aquaman’sJamie Wan, take a trip back to the sweaty swamp and see Dick Durock – the original and still the best – rise from the murky depths and fight evil mutants, seduce Heather Locklear and give the thumbs up. The return of The Return of Swamp Thing…

It’s hard not to be romantic about the sports film. From classics like The Natural and Bull Durham to more modern efforts like The Blind Side and Moneyball. They range across all genres and all sports. Football (Rudy, Any Given Sunday), Golf (Tin Cup, The Legend of Bagger Vance), of course, Baseball (Field of Dreams, For Love of the Game) and in the case of Hoosiers, Basketball (Blue Chips, He Got Game). But Hoosiers, and I happen to share this sentiment, is one of the finer examples of the sports genre and is, for my money, the best basketball film ever made.

Now, I use the term sports film very loosely. Yes all of the aforementioned contain the listed sports as part of their narratives. But, the games are not really what lies at the heart of these tales. The true centerpiece are themes like redemption, romance, the search for self, the search for acceptance – all these things within the characters either as player, coach, fan etc.

So why do I think Hoosiers is the best example of this genre? Well, it’s simple. Hoosiers has all of these working within it. Comedy, romance, drama, redemption, the search for self, the search for acceptance. Okay, so it doesn’t have a crazed Bobby De Niro terrorizing any of the players to feed his grossly misguided obsession and distorted view of the world – but that doesn’t mean that it lacks thrilling, intense and impactful moments that keep you watching and ultimately cheering for the underdog, the little team that could. One could argue that this is a key ingredient in these kinds of films. A down-on-his-luck former golf pro, a disgruntled former player trying to manage a failing team, a boxer with all the odds stacked against him or a basketball team from a town in the middle on nowhere that couldn’t possibly take on the big schools and win.

Then there are the characters – all looking for second chances. Hackman’s coach, Hopper’s alcoholic father, Hershey’s teacher. They all have something to prove, something to gain from the victories the home team are accumulating. And, they are all masterful turns by each of the three principals. Indeed from all concerned with the production. None more so than that of first-time screenwriter and my guest Angelo Pizzo.

The man who was headed for a career in politics eventually ended up going to film school. After graduating, and spending sometime working in the arena of television, Angelo felt the need, at last, to make a film about a subject he was passionate about – basketball. And, being unable to find writer for the project . . . well . . . he decided to have a crack at it himself.

This wonderful film, under marvelous direction, David Anspaugh, from a great script with a stellar cast and punctuated by a phenomenal Jerry Goldsmith score is a small miracle that has, not unlike the team portrayed in its story, taken on the giants and carved out its place in cinema history.

If you haven’t seen Hoosiers, I urge you to do so. Don’t get caught watchin’ the paint dry…

I definitely subscribe to this line you’ll find in the bio offered up on Shawn “Etcetera” McClain’s official site http://www.iametcetera.com/index.html, that he is indeed a modern day renaissance man, and all around musical professional who is commanding not only an audience, but also the respect and acclaim of heavy hitting industry insiders. The embodiment of hard work, a Multi-Award winning musician, entrepreneur and entertainment industry professional whose career includes world-wide recognition and acclaim. He’s definitely no stranger to the limelight, and has carefully crafted a powerhouse of musical talent and stylistics that have garnered him an award for best Rap/Hip Hop album as well as two best video awards.

He has recently set his sights on film and television, becoming the music director and crafting monumental tracks for the highly anticipated martial arts comedy film “Paying Mr. McGetty,” and the test pilot TV series “Kelly’s Corner” His repertoire doesn’t include the standard checklist, instead he has found immense success as a fragrance designer, sports manager and actor. His creative skills span the spectrum and have gained him a cult following and record stopping sales.

All of the above sounds very grand. But, what I discovered when I talked with the man was a down-to-earth family guy who has devoted his life to his pursuits. I read a great article recently, that talked primarily about whether or not one should give up on their dreams. There was no definitive answer, but there was one truth that I took away from that piece; that if your are out there giving it all that you have, in spite of the success you may or may not receive, then you are living the dream – and that is something not everyone can boast. Etcetera is such a man, and his labors have proven fruitful. I was surprised at his candour, awed by his passion and thought it brilliant that he is an enthusiastic comic book aficionado, who still may yet have a chance to have his music become a part of the DC Extended Universe.

He is a really cool guy that I hope to hang out with some time. In the meantime, pull up a comfy chair, kick back and listen to the man of music, fragrance and comic book love. Ladies and Gentelmen . . . I give you, Etcetera.

I remember a rainy evening long ago when I went with some friends to see The Rocketeer. This was a time when superhero movies were touch and go. We had Dolph Lundgren’s Punisher and Alec Baldwin’s Shadow, Billy Zane’s Phantom and Pamela Anderson’s Barbed Wire. The movie gods had spoiled us with Donner’s Superman and Burton’s Batman – but The Rocketeer, for my money, was a return to form.

Featuring solid direction from Joe Johnston (Alive, Congo, Captain America), a great cast featuring Billy Campbell, Jennifer Connolly, Alan Arkin and the delightfully villainous Timothy Dalton, combined with a beautiful and heroically-sumptuous score from the late/great James Horner – The Rocketeer stayed with me after that rainy night back in the early 90’s, and it’s an experience I find myself going back to again and again.

The film though, was not an easy gig for it’s writers. They began their comic book adaptation of The Rocketeer in 1985. Writing for Disney, the partners were hired and fired several times during the five years of the movie’s development. The two had a rough executive experience, in which scenes were deleted only to be restored years later. The film finally made it to theaters in 1991.

But The Rocketeer isn’t the only picture co-penned by Danny Bilson that I love. There is Eliminators, which he wrote with his career-long collaborator Paul DeMeo (They he met and graduated from California State University, San Bernardino and together formed Pet Fly Productions.) One great tale Danny offered is that Eliminators was a poster before it was a movie. I would kill to have worked like that for the Charles Band stable back in the day. Being handed a title or a poster and being told, “Now go write the movie.”

Eliminators, Zone Troopers, Arena and Trancers would be written by DeMeo and Bilson, who aside from being a writer, is also a director and producer of movies, television, video games, and comic books. They worked on the video game James Bond 007: Everything or Nothing (2003), the television series The Sentinel (1996), Viper (1994, 1996) and The Flash (1990), and issues of the comic book The Flash. Bilson also directed and produced The Sentinel and The Flash.

Danny Bilson was born into the industry, the son of Mona (Weichman) and the director Bruce Bilson (Bewitched, Get Smart, Hogan’s Heroes). But, after college, Danny struggled to break into the movie business, working as an extra while writing screenplays. Bilson and DeMeo produced their first script, Trancers (1985), a noir tale about a time-travelling detective from the future. Five sequels would follow. Bilson debuted as a director for Zone Troopers (1985), co-written by DeMeo, a tale of American World War II soldiers who find an alien spacecraft. Following this, the duo performed the same roles in The Wrong Guys (1988) a comedic spoof of boy scouting.

VIPER, Dorian Harewood, James McCaffrey, Joe Nipote, 1994

Danny and Paul, though the screen has seen their writing credit absent for some time, continue to work. I long for the hour when I see their names up there again, as their collaborative efforts will and always stand, for this cinephile anyway, as an invitation for adventure and excitement. While a Jedi is not meant to crave such things – of my cinema-going prerequisites they are high the list – bordering on essential.

​JUSTICE LEAGUE: FLASHPOINT PARADOX is my first foray into the DC animated feature film series. It’s based upon a graphic novel, FLASHPOINT where The Flash goes back in time, preventing his mother’s death but by doing so he changes the trajectory of events that yields a dead Bruce Wayne, a rage filled Batman in Thomas Wayne who maliciously uses guns as his primary weapons, turning Martha Wayne into the Joker – basically most of all the heroes as we know are villains, and a few villains are heroes.

The animation draws the heroes in an obnoxiously muscular way, and some of the dialogue is almost intentionally lame, but with a voice cast of Kevin Conroy, Michael B. Jordan, Danny Huston, C. Thomas Howel, Kevin McKidd, Nathan Fillion, Dana Delany, Cary Elwes, and Ron Perlman – it’s pretty good.
Seeing the heroic DC Universe flipped, where Batman is killing everyone, Wonder Woman is beheading Atlantians, and Deathstroke and Lex Luther are fighting with Cyborg and the military against the meta-human war between Wonder Woman and Aquaman, all in all it’s a pretty fun watch. PARADOX proposes itself as a rich “what if” in an already interesting universe.

If you are rabidly awaiting the onslaught of the DC Cinematic Universe, this film is a fun introducrion into who the heroes and villains you’ll eventually see on screen are. Or, if you’re like me and don’t know a lot about some of the deeper characters in the DC Universe, this is a quick film that is certainly worth checking out.

JUSTICE LEAGUE: FLASHPOINT PARADOX is now available to stream on Netflix.

“That’s how it starts. The fever, the rage, the feeling of powerlessness that turns good men cruel.”

Zack Snyder’s BATMAN V SUPERMAN DAWN OF JUSTICE is unlike any superhero film we’ve seen before. It is brazen and it is bold, it is disjointed and over packed with setting up the new DC Universe. When I say that this film is a complete mess, I mean it in the way of how APOCALYPSE NOW is a complete mess. BvS cannot be compared to any existing, non-universe, DC film that came prior, and it certainly cannot be compared to anything that Marvel has done. Marvel likes to follow a template. They know what works and what doesn’t, and they certainly do not take many risks at all. BvS takes risk after risk after risk, and by doing so Snyder has made a remarkable film.

The casting of Ben Affleck as the fifty year old Bruce Wayne/Batman was a brilliant move by Snyder and Warner Brothers. We know who Batman is. We’ve seen Batman’s story countless times. There’s nothing more that can be said about him. Michael Keaton was perfect, Val Kilmer was admirable; George Clooney fully admits his turn almost killed Batman, and the Bale/Nolan trilogy was a godsend to the Batman’s onscreen presence. Now, we get to see the version of the Batman that some of us have always wanted, and a lot of people didn’t even know they wanted. We see what comes after everything we have seen prior. The Batman is older; he’s even more cynical and jaded. He’s given up on hope and resorted to his anger, his vengeance. He has become a killer.

Affleck’s take on Batman may just be the best one yet. He has resorted to his primal brutish instincts with one goal in mind. He doesn’t want to make Superman submit; he doesn’t want Superman to stand trial and have society serve justice for the atrocity he’s brought to the world. He wants to kill him, and if he can’t, he will die trying. Affleck transforms the Batman into a battle worn warrior. He is a man who doesn’t care about peace and justice, he is a man who has a blatant disregard for hope.

Zack Snyder is the epitome of a polarizing filmmaker. He has a solid fanbase who are passionate about his films. Snyder has an equally loud echo chamber made up of people who strongly dislike him. Who refuse to give him credit for anything positive. There is not another filmmaker alive who could have made a Batman/Superman film that sets up not only the Justice League, but also an entire new universe to be explored. Zack Snyder, takes everything that was thrown at him: a follow up to MAN OF STEEL, introducing a new Batman without spending a film giving him an origin, introducing Wonder Woman, Cyborg, the Flash, and Aquaman. Snyder not only did all these things, but excelled in a remarkable way.

Yes, it’s another superhero film. Yes it’s another big budget blockbuster. Yes, it’s going to set up multiple franchises that we’ve already seen. But it has never been done in such a magnificent way. Affleck, along with Jeremy Irons as the new Alfred, and Jesse Eisenberg as the smoke screen for the real Lex Luthor, all bring pre-existing gravitas with them. Immediately adding validity to characters so we don’t need to spend a movie a piece building up backstory for them

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Film critics, whether professional or Facebookers/bloggers, who don’t like this film, who are relishing in the critical shitstorm this film received, already made their minds up that they were going to hate this film. Much like IndieWire and a few other websites tried their absolute hardest to sink TRUE DETECTIVE season 2 before it even aired, the way some critics approached the new Star Wars film in a highbrow, disregarding way – DAWN OF JUSTICE suffered much of the same fate, but none of that matters. The film is going to and already has broken box office records, and the dark and dreary foundation of the new DC Universe is set.

There is a striking moment in the film that was shown in the first trailer. The second Robins suit is displayed in the Batcave with spray paint on it: “The joke is on you, Batman!” Not only does this tell us, in part, of why the Batman is so angry and rage filled, but I can’t help but think that is also a way of Snyder saying that to his haters, those who rallied hard against this film: the joke is most certainly on you.